THE METHOD
​surveys assemblage/collage, the essential approach for developing and creating works; first on paper and then in physical, three-dimensional form.

​THE INFILTRATOR
​focuses on performative works in which Segers becomes the protagonist/antagonist in his self-styled scenarios.

MACHINE HEAD
​brings together Segers’ collection of machines that serve no real purpose other than being sculptural metaphors for technological paradoxes.

DAILY PRACTICE
​shows Segers re-imagining the businesses and practices of the postmodern work force.

"Like the characters in Ballard’s fictions, P. is jury-rigging a private cosmology in much the same way that he fashioned his ad-hoc shelter, in “Mark the Points of No Return,” from discarded artworks. In that sense, he’s Claude Lévi-Strauss’s bricoleur updated for the age of Twitter mobs, drone wars, and reality-TV politics, tinkering together a system of myths, symbols, and rituals from whatever’s at hand: The media landscape. The built environment. The flood tide of images inundating the mass unconscious. Technology, which increasingly remakes us in its own image and, more and more, has a mind of its own. Free-floating anxieties and conspiracy theories. The persuasion industries—P.R., marketing, branding, advertising. The psychopathology of everyday life in a world spun off its axis by info-vertigo."

Mark Dery.
Excerpt from A Crash Course in Disaster Survival. (A Critical Fiction About Paul Segers)
Published in The Scene Changes 

RECENT: THE KARATE KID ON PILLS
​Opening Performance for the duo-show Beuyz 'N the Hood with Henny Overbeek & Vincent Dams. (KuuB, Utrecht)
Photo: Josef Blersch